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Vivaldi's opus 2 sonatas for violin and continuo are early works, composed
around 1708. Originally advertised, before publication, as sonatas for
violin and cello, they were published in the form of sonatas for violin
and basso continuo, or 'violini e basse per il cembalo', cembalo being
the harpsichord. While the scoring changed, the tone of the sonatas did
not - the cello has an essential role in these works, more so than that
of simple continuo.

These sonatas are clearly influenced by Corelli's opus 5 violini sonatas,
which established norms in form and style at the time. While Vivaldi used
the 'da camera' form, where most of the three or four movements of the
sonata were dance movements, he takes a bit more liberty in the abstract
movements.

These sonatas all range from three to five movements, and, on this recording,
their timings range from just over 6 minutes to more than 11 minutes.
Individual movements range from the presto of the second sonata (27 seconds!)
to the long prelude of the third sonata (just shy of 7 minutes). In most
of the sonatas, the prelude is the longest movement; this gives a feeling
that some of them are unbalanced - take the sixth sonata, for example,
the prelude is over 6 minutes long, and the two other movements total
less than 3½ minutes.

In any case, these works come at a time when Vivaldi was not yet Vivaldi;
or, at least, when he had not developed his signature style. One can hear
the beginnings of this style in these works, and, while some have called
these sonatas 'immature', they are far from that. While not being in the
same vein as the Four Seasons and other great Vivaldian works, they are
certainly masterpieces.

Walter Reiter's performance of these works is excellent. His playing
is tasteful, his ornamentation subtle and attractive, and he obtains a
beautiful tone from his violin. This recording exudes a great deal of
joy and happiness; under Reiter's bow, this is clearly music to be enjoyed.
His mastery of the rhythms of the dance music, his virtuosity when called
for, and his restraint when needed all add up to provide an immensely
satisfying performance. An example is the long prelude in the third sonata,
where Reiter plays with such fluidity and flexibility, giving the sinuous
melodies just the right highlights and phrasing. These are works where
the violin is presenting a discourse, and Reiter's approach seems flawless.

There is also a perfect balance among the other various instruments (harpsichord
and cello; theorbo or baroque guitar in three of the sonatas), and the
recording is impeccable. The sound comes across with such clarity and
beauty that one is enraptured, especially when listening on headphones.

An excellent recording of some of Vivaldi's earliest works. Far from
being immature works, these sonatas take on a new dimension in this performance.
Highly recommended.

Kirk McElhearn

..........................................

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